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Experimenting

02.06.22

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Sketches for materials

28.05.22

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Tivaevae

15.05.22

The impact of Western perspectives within Cook Island art is evidently displayed in quilted Tivaevaes. Tivaevaes are a form of artistic quilting, using patches and sewing them together. This technique was introduced by missionaries to teach Indigenous women how to sew, distancing themselves from the production of bark cloths (tapas).

The materiality of the Tivaevaes is something I want to look closer in within ‘Aere Mai, ‘Aere Mai (Come back to me). Through woodblock printing, I want to recreate the patchwork design by Cook Island women. This to reflect back onto tapa cloth and the labour inducive method of creating prints, representing the story of colonised fabrics within an indigenous setting. Overlaid with digitally printed silk of pictures of my mother’s land, highlighting the importance of creation of land is to the Polynesian people.

Tivaevae - Made by Cook Island women 

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Sketches

22.04.22

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Inspiration

18.04.22

Gathering influence from Lynette Wallworth, Lucy Simpson, and Gary Hill, expanding the notions of otherness and/or spirits around us through installation, projection, and sound.

Through the use of projection, I wanted to generate a space where it feels like a presence is around you. Much like Wallworth, it creates simulation of intimacy between the artwork and the viewer. Within the film, traditional Cook Island dance and movement will connect two figures through strong familial ties and the love that is shared between culture and family. The projection will be displayed on fabric, walking around the installation piece as a performative projection piece. The projection reflects what many Pacific Island people feel from having spiritual ties to their ancestors.

Lynette Wallworth’s Duality of Light 

Tall Ships (1992) Gary Hill

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Matias Duville

23.03.22

https://www.biennaleofsydney.art/participants/matias-duville/

The Instant of Waves 

��Whatever the reason or shape of fate, it is how we got here, traveling at lightning speed on top of a planet overflowing with natural phenomena that come before us. In this journey of endless madness, we pause to reflect until a puff of air spits us back into the void.

I try to disappear and forget who I am but, in a sort of magnetic teletransportation, my mind goes back to the south, where as a child in the early eighties my family would go on expeditions. My father, a chemist who worked in marine biology and dabbled in geology and archeology, was at the helm of those caravans. So, as if by magic and after crossing thousands of kilometers, we would find ourselves in a random terrain for exploration that was gradually engraved on my mind. Whether it was the petrified forests of Chubut, glacier rivers and lakes, or the coast of the South Atlantic, it all formed a concoction in my head, a sort of generator of stimuli and energy swirling in my mind.

Nothing could be more vivid than the possibility of expanding the notion of landscape with layer upon layer of time, an infinite machine of never-repeating connections and links.

Pangaean logic sets in, connecting Patagonia with early Australasia, regions that, though far-flung, are strangely alike.’

Within the trip to the MCA biennale, this work stood out to me. The sonic sounds of the space created this journey for the audience to ride with. The large scale paintings were admirable, but I definitely believe the soundscape drew people in. There was a catchy part of the song that felt like a desert road trip, reflecting the concepts of Patagonia. 

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Types of Wood

09.03.22

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Woodblock carving

09.03.22

Woodblock is a form of relief printing and is based on the principle that parts that are not to be printed are cut out.

https://www.youtube.com/watch?v=l9cqxwxvOXQ

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Mayabuu (still, continuing)

22.02.22

Lucy Simpson 

Inspiration for honours. 

This work holds ground and speaks of transfer. It remembers cycles of life and long-time (both back and forward) and maps movement through space and story. Embedded with the essence of Country and developed in response to collected materials held at the Powerhouse, it brings to the fore conversations about value, balance and release. This work was created with practices and processes guided by the lessons of Yuwaalaraay philosophy, moral lore, ceremony, and continuity. It acknowledges Country, the importance of relationships, and the interconnected kinship systems woven into the story of Bibil (bimble box / Eucalyptus populnea). Digital print: Yuwaalaraay and Gadigal earth pigments and plant dyes on silk Digital recording: Mayabuu composed, performed and recorded by Nardi Simpson